Read On is a regular feature in which The Dissolve’s staff recommends recent film pieces. Because there’s always someone writing something notable about the movies somewhere on the Internet.

Forbes’ Scott Mendelson on the false hope of Jurassic World and Mad Max: Fury Road:
“On paper, Mad Max: Fury Road looked like everything we all claim to hate in Hollywood. It was a decades-late revival of a cult 1980′s franchise, with a new “flavor of the month” lead actor (Tom Hardy) and the original director (George Miller) going back to the franchise that made him a name seemingly because he had nowhere left to go. But Mad Max: Fury Road is now universally celebrated as one of the very best films of the year, a gloriously inventive and outright original adventure story told within the safe prism of a known franchise with relative artistic autonomy, giving us an iconic new geek-favorite character (Charlize Theron’s Furiosa) in the process. On paper, Jurassic World looked like a decades-late revival of a blockbuster 90′s tentpole franchise, with a new ‘flavor of the month’ lead actor (Chris Pratt) and a new director (Colin Trevorrow) who had been handed the keys to the castle after one critically-acclaimed indie success. The film wasn’t just a big hit but an instant sensation, breaking nearly every short term box office record in the book. It is now flirting with becoming one of the biggest-grossing movies of all time here and abroad. While Mad Max: Fury Road isn’t exactly a super hit (it’s at $356m on a $150m budget) and Jurassic World isn’t exactly an artistic masterpiece (although it was solid big screen entertainment with much on its mind), their combined relative successes have offered both we moviegoers and those in the industry with the power to greenlight what may be the most terrible gift of all: False hope.”

Rogerebert.com’s Olivia Collette addresses the controversy about Sadness’ body type in Inside Out:
“ ‘Why is she fat, for frack’s sake?’ asks Joni Edelman, editor-in-chief at Ravishly.com, feminist and body-positive activist, in a piece she recently wrote for The Huffington Post. Referring to the character of Sadness in Inside Out, a film she admittedly hasn’t seen, she evaluates the movie’s body-positive imagery, asking why Joy gets to have the culturally idealized slim figure, while Sadness gets the frumpy treatment. Posing the question as she does, Edelman unwittingly suggests that fat is bad, ergo so is Sad. There are a couple of interesting things going on there.Firstly, if she’s a body-positive activist, I wonder what led her to assume that the fat character is a bad one. Not in an evil way, of course, but at least in a way that’s not as uplifting as Joy. Edelman names other animated movies that she feels did well in terms of feminist and body-positive representation. We’re not there yet, but our movies are indisputably progressing. So why did Edelman assume Inside Out had undercut its fat character just because she also happened to be sad?”

IndieWire’s Dennis Cozzalio eulogizes spaghetti Western director Sergio Sollima:
“ ‘I don’t live to be a director. I direct so I can live.’ When he spoke these words, Italian film director Sergio Sollima, who died this week at age 94, was referring to his love of travel, of the ability to visit far-flung parts of the world, observing and absorbing varied and unfamiliar cultures afforded to him by his career. But he always seemed to translate that love of observation and experience to even his grimiest, most disreputable thrillers, infusing his films with vitality and a distinct political thrust that often separated them from the more routine product of the Italian film and television industry of the ‘60s and ‘70s.”

The Guardian’s Benjamin Lee on why Britons have ended their affair with the rom-com:
“This year’s Man Up, starring Simon Pegg and Lake Bell, hasn’t even made it to £2m in the UK, while Karen Gillan’s Not Another Happy Ending and Love, Rosie, which stars Lily Collins and Sam Claflin, have been even less fortunate. Even About Time, Richard Curtis’s much-publicised return to the genre in 2013, only made it to £7.5m domestically, a far cry from the glory days of Notting Hill’s £30.4m UK total. But what’s turning off both studios and audiences? In part, it’s a leading-man problem. When Grant abandoned the British romcom for a set of less successful American alternatives, from Did You Hear About the Morgans? to The Rewrite, he left a foppish hole in his wake. Attempts have been made to plug it, from Rafe Spall to Domhnall Gleeson to Pegg, but Grant’s schtick has proved surprisingly difficult to replicate. ‘For a while after Four Weddings, much of the successful Working Title output was built around Hugh,’ says Ben Roberts, director of the BFI film fund, a body whose coffers have long proved vital to the genre. ‘I think we are all still looking for someone who has that huge and instant broad appeal and can be an international film star.’”

Plus, the rest of today’s biz-ness:

• Amy Winehouse’s father may make a film to “correct omissions” in Amy
• Here’s the trailer for horror-comedy Bloodsucking Bastards
• And some new Batman V. Superman photos
• A new Hateful Eight image teases the “funniest Snow Western ever made”
• Elisabeth Moss thriller Queen Of Earth is set for an August 26 release